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EYE99 cover
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Rolls of foil at Pureprint, Uckfield. Photography by Philip Sayer.
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Spread from Why I Hate Cars, by Katrien De Blauwer.
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Collage from Why I Hate Cars, by Katrien De Blauwer.
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Cover of Why I Hate Cars by Katrien De Blauwer with De Blauwer’s handwriting, designed by Tony Cederteg and published by Libraryman, 2019.
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Data ethics illustration by Michael Kirkham/Heart
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Kirsty Carter and Emma Thomas (right) of Apfel (A Practice for Everyday Life) at their studio in Bethnal Green, London.
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Spread from Linder, 2015, published by Ridinghouse.
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Neon sign, set in Apfel’s bespoke Linderama typeface, for the ‘Linder: Femme / Objet’ exhibition in Paris, 2013.
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An image from the Dutch Socialist Party’s 2005 campaign, produced in collaboration with Ari Versluis and Ellie Uyttenbroek, featuring Thonik’s redesign of the party’s tagline and logo
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Identity design for the Holland Festival, 2019, by Thonik.
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Balenciaga logotype, designed in 2017 by Bureau Mirko Borsche and Gian Gisiger, on the runway. Photograph: Getty Images
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The equestrian knight first appeared on Burberry clothing in 1901 before Thomas Burberry registered it as part of the logo in 1909. Peter Saville dropped both the knight and the serif when he redesigned the brand’s marque in 2018.
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Fashion designer Demna Gvasalia kickstarted the current vogue for logos when he incorporated the DHL logo T-shirt into his Summer 2016 collection for Vetements. Photograph: Getty Images.
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In 2018, Fendi, under creative director Karl Lagerfeld, collaborated with illustrator Hey Reilly to redraw its logo in the style of the split ‘F’ bubble typeface first used by Italian sportswear brand Fila in 1973. Photography: Getty Images
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The 2017 Balenciaga logotype by Bureau Mirko Borsche and Gian Gisiger abandons the extended letterforms and twentieth-century classic feel of its predecessor.
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The 1963 YSL logotype, designed by A. M. Cassandre.
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The Céline logotype, redesigned in 2018 under the creative direction of Hedi Slimane.
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The Yves Saint Laurent logotype, redesigned under the creative direction of Hedi Slimane in 2012.
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The Make America Great Again (MAGA) hat crosses Normcore vernacular with the ‘Age of Stupid’. Photograph: Getty Images
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Dramatic double-page spread infographics (both created by Matteo Riva) with precisely designed integrations of type and graphics continue Franchi’s approach to content and page design pioneered at IL magazine.
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Live front page: a changing, modular design system and flexible masthead can incorporate photography and illustration at varied scales, giving a different expression to each month’s contents. Supplement designer: Giovanni Cavalleri.
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Fritz Gottschalk, 2019. Portrait by Philip Sayer
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Marketing material for outdoor advertising contractor Claude Neon, 1973, designed by Gottschalk + Ash in collaboration with Freddy Jaggi.
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Left to right. New G+A partner Mattia Conconi with Sascha Lötscher and founder Fritz Gottschalk. Photograph: Philip Sayer.
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Swiss passport, 1985. Despite a redesign in 2003, Gottschalk + Ash’s original design is possibly the most memorable iteration.
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Annual review for the Zumtobel Group, 2018-19. Produced with architect Dietmar Eberle of Baumschlager Eberle.
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Poster at the entrance of the Arsenale, design by Melanie Mues. Photograph: Philipp Ebeling.
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Two-volume catalogue against the city’s blue vistas, design by Melanie Mues. Photograph: Philipp Ebeling.
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Biennale badge, design by Melanie Mues
